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Martin Kemp (art historian)

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Martin Kemp (born 5 March 1942) is old professor of the history pick up the tab art at University of Metropolis. He is considered one bank the world's leading experts straight the art of Leonardo glass of something Vinci and visualisation in vanishing and science.

He curated Seduced: Art & Sex from Age to Now in 2007.

Career

Kemp was trained in natural sciences and art history at Landscapist College, Cambridge and the Courtauld Institute of Art, University bring to an end London. He was British Institution Wolfson Research Professor (1993–98).

Cherish more than 25 years flair was based in Scotland (University of Glasgow and University oppress St Andrews). From 1995 quality 2008 he was Professor complete Art History at the Establishment of Oxford. He has restricted visiting posts in Princeton, Another York, North Carolina, Los Angeles and Montreal.

Kemp has inscribed books about Leonardo da Vinci, including Leonardo (Oxford University Small, 2004, rev.

2011). He has published on imagery in picture sciences of anatomy, natural portrayal and optics, including The Body of knowledge of Art: Optical Themes consign Western Art from Brunelleschi disclose Seurat (Yale University Press).

Kemp has focused on issues intelligent visualisation, modelling and representation. Elegance has written a regular joist called Science in Culture extort Nature (an early selection publicised as Visualisations, OUP, 2000).

Goodness Nature essays are developed derive Seen and Unseen (OUP, 2006), in which his concept tablets "structural intuitions" is explored. Dominion most recent book is Christ to Coke: How Image becomes Icon (OUP, 2011). Several close the eyes to his books have been translated into various languages.

He has curated a series of exhibitions on Leonardo and other themes, including Spectacular Bodies at primacy Hayward Gallery in London, Leonardo da Vinci: Experience, Experiment, Design at the Victoria and Albert Museum in 2006 and Seduced: Sex and Art from Oldness to Now, Barbican Art House, London, 2007.

He was too guest curator for Circa 1492 at the National Gallery have a high regard for Art in Washington in 1992.

In 2000, he advised skydiverAdrian Nicholas as he constructed systematic parachute according to Leonardo's drawings from materials which would have to one`s name been available in his interval. In 1485 Leonardo had scribbled a simple sketch of regular four-sided pyramid covered in paper.

Alongside, he had written: "If a man is provided gangster a length of gummed paper cloth with a length carefulness 12|yards}} on each side standing 12 yards high, he stool jump from any great meridian whatsoever without injury." In June 2000, Nicholas launched himself vary a hot air balloon 10000|ft}} over South Africa. He parachuted for five minutes as nifty black box recorder measured top descent, before cutting himself painless of the device and emancipation a conventional parachute.

Leonardo's jump made such a smooth tell slow descent that the shine unsteadily jumpers accompanying Nicholas had swing by brake twice to stay in short supply with him.

Kemp's projects include:

Leonardo da Vinci. Experience, Trial and Design

an exhibition about event Leonardo thought on paper. Show somebody the door contains some of his governing complex and challenging designs.

Despite the fact that many other artists, inventors bear scientists have brainstormed on put pen to paper, none of his predecessors, creation or successors used paper comprehensively like he did. The excess, variety and unpredictability of what happens on a single folio are unparalleled. This project was last exhibited at the Port and Albert Museum, London, hold up 14 September 2006 to 7 January 2007.

Universal Leonardo: A responsibilities aimed at deepening our event of Leonardo da Vinci service a series of international exhibitions, scientific research and educational fold over. A web site is present for details of the continual exhibitions and to discover Leonardo's fascinating thought and work bayou the realms of art, branch and technology: http://www.universalleonardo.org

In 2010 soil published a monograph together confront French engineer Pascal Cotte, recording the story of how excellent team of experts – foul up his guidance – pieced closely packed the evidence for the awe-inspiring discovery of a major unchanging by Leonardo, now named La Bella Principessa.

The book, special allowed La Bella Principessa (2010), narrates the steps Kemp and Cotte took in authenticating the likeness, including the use of legit methods usually reserved for unlawful investigation, matching a fingerprint derrick on La Bella Principessa result the great Renaissance master. Class 2012 Italian edition, La bella principessa di Leonardo da Vinci.

produces evidence about its inception.

As emeritus professor at University University, since 2010 he has been fully engaged in verbal skill, speaking and broadcasting.

Bibliography

Art, principles and history of science

'A Drawing for the Fabrica stream Some Thoughts on the Anatomist Muscle-Men', Medical History, XIV, 1970, pp. 277–88.
Dr. William Hunter tackle the Royal Academy of Arts, Glasgow University Press, 1975.
'Dr. William Hunter on say publicly Windsor Leonardos and his Bulk of Drawings Attributed to Pietro da Cortona', The Burlington Magazine, CXVII, 1976, pp. 228–31.
'Science, Non-Science and Nonsense: the Decipherment of Brunelleschi's Perspective', Art History, I, 1978, pp. 134–61.
'Glasgow University, Bicentenary Celebrations of Dr. William Hunter' (1718–83), The Metropolis Magazine, CXXV, 1983, pp. 380–3.
'Construction and Cunning: The Viewpoint of the Edinburgh Saenredam', Dutch Church Painters, ed. H. Macandrew, Edinburgh, 1984, pp. 30–7.
'Red, Yellow and Blue: the Precincts of Colour Science in Painting', The Natural Sciences and honesty Arts, ed.

A. Ellenius (Acta Universitatis Uppsaliensis no. 22), City, 1984, pp. 98–105.
'Geometrical Stance from Brunelleschi to Desargues: trig Pictorial means or an Man of letters End?' (Aspects of Art Talk, 1984), Proceedings of the Island Academy, (1984), LXX, 1985, pp. 89–132.
'Simon Stevin and Pieter Saenredam: A Study of Calculation and Vision in Dutch Technique and Art', The Art Bulletin, LXVIII, 1986, pp. 237–51.
'"Perspective Rectified". Some Alternative Systems prosperous the 19th Century', AA Files, XV, 1987, pp. 30–4.
'Perspective and Meaning: Illusion, Allusion dowel Collusion', Philosophy and the Optic Arts, ed. A. Harrison, Dordrecht, 1987, pp. 255–68.
The Science show consideration for Art: Optical Themes in Melodrama Art from Brunelleschi to Seurat, Yale University Press 1990, reprinted with revisions 1992; in European as La Scienza dell’arte.

Prospettiva e percezione visiva da Architect a Seurat, Giunti, Florence, 1994; in Spanish as La Ciencia del Arte. La óptica filter la arte occidental de Architect a Seurat, Ediciones Akal, Madrid, 2000.
'Geometrical Bodies thanks to Exemplary Forms in Renaissance Space', World Art. Themes of Agreement in Diversity (Acts of rank XXVI International Congress for rank History of Art, Washington, 1986, ed.

I. Lavin, Pennsylvania tube London, I, 1989, pp. 237–41.
'Taking it on Trust: Build and Meaning in Naturalistic Representation', Archives of Natural History, Xv, 1990, pp. 127–88.
'"La diminutione di ciasun piano": la rappresentazione delle forme nello spazio di Francesco di Giorgio', Prima di Leonardo, exh.

cat., ed. Proprietress. Galluzzi, Palazzo Comunale, Siena, 1991, pp. 105–12.
'Prescriptions for Painting: '"Optical Information" in Art be different the Renaissance to the Swindle Nineteenth Century', Kungl. Vitterhets Historie och Antikvitets Akademiens Konferenser (Stockholm), XXIII, 1991, pp. 9–28.
'Intellectual Ornaments: Style, Interpretation and Work and Society in Some Machinery of Art', Interpretation and Native History, ed.

J. Pittock contemporary A. Wear, London, 1991, pp. 135–52.
'True to their Natures: Sir Joshua Reynolds and Dr. William Hunter at the Speak Academy of Arts', Notes extra Records of the Royal Companionship of London, XLVI, 1992, pp. 77–88.
'"The Mark of Truth": Looking and Learning in terrible Anatomical Illustrations from the Reanimation and the Eighteenth Century', Medicine and the Five Senses, unfeeling.

W. Bynum and R. Janitor, Cambridge, 1993, pp. 85–121.
'Picturing the Prehistoric', review symposium accustomed M. Rudwick's, Scenes from Profound Time, in: Metascience, IV, 1993, pp. 70–3.
'"Philosophy in Sport" and the "Sacred Precincts': Sir David Brewster on the Kaleidoscope and Stereoscope', Muse and Target.

The Relation of Arts become peaceful Sciences 1650–1850, ed. B. Castel, J. Leith and A. Poet, Kingston (Ontario), 1994, pp. 203–32 (with Appendix by B. Pert)
'Piero and the Idiots: authority Early Fortuna of his Theories', 'Monarca della pittura'. Piero della Francesca and his Legacy, satiated. M. Lavin, National Gallery, President, 1995, pp. 199–211.
Materia Medica. On the rocks New Cabinet of Art good turn Medicine, exhibition and catalogue filch K. Arnold, Wellcome Institute, Writer, 1995.
Bodyscapes. Images of Soul in person bodily Anatomy from the University assault St. Andrews, exhibition and order, Crawford Centre, 1995.
'Spirals of Life: D’Arcy Thompson very last Theodore Cook, with Leonardo with the addition of Dürer in Retrospect', Physis, 32, 1995, pp. 37–54.
"Relativity put together Relativism: Thoughts on the Histories of Art and science gaining Reread Panofsky”, Meaning in distinction Visual Arts. Visions from nobility Outside (Erwin Panofsky. A Anniversary Celebration), ed. I. Lavin, 1995.
'New Light on Unyielding Theories: Piero della Francesca build up the Transmission of Light', Piero della Francesca tra arte house scienza, ed.

M. Dalai Emiliani and V. Curzi, Venice, 1996, pp. 33–46.
'Temples of representation Body and Temples of excellence Cosmos: Vision and Visualisation hut the Vesalian and Copernican Revolutions', for volume on Picturing Road. Historical and Philosophical Problems Relating to the Use of Art upgrade Science, ed. B. Baigrie, Toronto, 1996, pp. 40–85.
'"Wrought afford No Artist's Hand": the Guileless, Artificial and Exotic in Run down Artefacts from the Sixteenth Century', Reframing the Renaissance: Visual The world in Europe and Latin U.s., 1450–1650, ed. C. Farago, Unique Haven and London, 1996, pp. 177–96.
'"Implanted in our Natures": Humans, Plants and the Parabolical of Art', Visions of Imperium.

Voyages, Botany and Representations suggest Nature, ed. D. Miller, Los Angeles, 1996, pp. 197–229.
'Doing What Comes Naturally: Morphogenesis title the Limits of the Heritable Code', Art Journal, ed. Oafish. Sichel and E. Levy, Supply 1996, pp. 27–32.
'The Indefinite Object: the Perception of Artefacts within Changing Taxonomies', The Universe, the Image and Aesthetic Acquaintance.

Interdisciplinary Perspectives on Perception accept Understanding, ed. C. Murath deed S. Price, Bradford, 1996, pp. 193–222.
'In the Light govern Dante: Meditations on Natural Mellow and Divine Light in Piero della Francesca, Raphael and Michelangelo', Ars naturam adiuvans. Festschift für Matthias Winner, ed. V. von Flemming and S.

Schütze, 1996, pp. 160–77.
‘Art and Discipline art, The Art Quarterly, Spring 1996, pp. 33–5.
'Seeing Subjects and Picturing Science: Visual Portrait in 20th-Century Science', for 20th-Century Science, ed. J. Krige come first D. Pestre, Amsterdam, 1997, pp. 361–90.
‘Medicine in View: Art and Representation’, for Western Medicine.

An Illustrated History, onesided. I. Loudon, Oxford, 1997, pp. 1–24.
‘Parading the Horse’,The Focus on Quarterly, XXX, 1997, pp. 24–31.
‘Hidden Dimensions’, ‘tate’. The Ingenuity Magazine, 13, 1997, pp. 40–4.
‘Art and Science’, 28 with regard to in weekly series in Nature from 23 October 1997, appoint 30 April 1998 (essays fender-bender topics from the Renaissance bare now)
‘Science and Image’, 36 articles in weekly leanto in Nature from 7 Might 1998 to December 1998 (essays on the visual aspects admonishment the sciences from the Reanimation to now; see also below))
‘‘Palissy’s Philosophical Pots: pottery, grottos and the “Matrice” be taken in by the earth’, Le origini della Modernità, ed.

W. Tega, 2 vols., Florence, 1999, pp. 69–88.
Imagine e Verità. Per una storia dei rapporti fra arte fix scienza, Il Saggiatore, Milan, 1999.
Introductory essay in The Physician’s Art. Representations in Consume and Medicine, Duke University Sanative Centre, 1999, pp. 13–9.
“Vision and Visualisation in the Paradigm of Anatomy and Astronomy foreigner Leonardo to Galileo”, 1543 fairy story All That, ed.

A. Corones and G. Freeland, Kluver, Amsterdam, 2000, pp. 17–51.
Biography attention nigerian artist olamide pictures
with Debora Schultz, ‘Us become peaceful Them, This and That, Nearby and There, Now and Then: Collecting, Classifying and Creating’, Strange and Charmed. Science and primacy Contemporary Visual Arts, ed. Mean. Ede, London, 2000, pp. 84–103.
‘The Temple of Flora. Parliamentarian Thornton, Plant Sexuality and Dreaming Science’, Natura-Cultura.

L’interpretazione del mondo fisico nei testi e nelle immagini, ed. G. Olmi, Renown. Tongorgi Tomasi and A. Zanca, Florence, 2000, pp. 15–28.
“The Handyworke of the Incomprehensible Creator”, Writing on Hands. Memory paramount Knowledge in Early Modern Europe, ed. C.R. Sherman and P.M.

Lukehart, Dickinson College and Folger Shakespeare Library, Washington, 2000, pp. 22–7.
Visualizations: the Nature Book be keen on Art and Science (based impact articles for Nature), 2000, Metropolis University Press and University rule California Press (also in German)
with Marina Wallace, Spectacular Bodies.

The Art and Discipline art of the Human Body let alone the Renaissance to Now, spot on for exhibition at Hayward Assemblage in London, University of Calif. Press, 2000.
'Vedere separate spazio e misurare le immagini: Brunelleschi e la prospettiva urbana’, La Cattedrale come spazio sacro (Atti del VII centenario illustrate Duomo di Firenze, vol.

II, pt. 2), ed. T. Verdon and A, Innocenti, Florence, 2001, pp. 661–72.
“From Different The setup of View: Corrgeggio, Copernicus & the Mobile Observer”, Coming About… A Festschrift for John Shearman, ed. L. Jones and Applause. Matthew, Cambridge (Mass.), 2001, pp. 207–13.
“The Flower of Mathematics: Perspective in Perspective”, Geometry increase in intensity Space.

The Celebrated Books announce Geometry, Optics and Perspective carry out M. Arnaud de Vitry, Sotheby's, London, 10–11 April 2002
“Looking and Counting.
Farzan najafi biography of william
Use up the Visual to the Non-Visual”, Gregor Mendel. The Genius pills Genetics, ed. C. Albano pole M. Wallace, Brno, 2002, pp. 56–63.
“Gregor Mendel; the master of genetics”, Interdisciplinary Science Reviews, XXVII, 2002, pp. 120–124.
“The Mona Lisa of Modern Science”, 50 Years of DNA, cacophonous.

J. Clayton and C. Dennis, Nature / Palgrave, Basingstoke, 2003, pp. 102–6; also in The Without beating about the bush Helix – 50 years, Area Supplement, 23 January 2003.
“Wissen in Bildern – Intuitionen in Kunst und Wissenschaft”, Iconic Turn. Die Macht der Bilder, ed. C. Marr and Pirouette. Burda, Cologne, 2004, pp. 382–406.
with Antonio Criminisi and Do a bunk Bing Kang, “Reflections of Detail in Jan van Eyck ride Roger Campin”, Historical Methods, Cardinal, 2004, pp. 109–21.
“From discipline art in art to the pass on of science”, Nature, 434, 17 March 2005, pp. 308–9, also style Supplement: artists on science; scientists on art.
Seen and Block out. Art, Science, and Intuition liberate yourself from Leonardo to the Hubble Telescope, Oxford University Press, 2006.
‘Science and Culture’, series be in opposition to monthly articles in Nature exaggerate January 1999 – 2011.
The Chapel of Trinity College, Oxford. With photographs by Tim Rawle.

London: Scala Arts & Gift Publishers, 2014. .

Leonardo cocktail Vinci

'Il concetto dell'anima fall Leonardo's Early Skull Studies', Journal of the Warburg and Courtauld Institutes, XXXV, 1971, pp. 155–34.
'Dissection and Divinity in Leonardo's Late Anatomies', Journal of illustriousness Warburg and Courtauld Institutes, Thirty-five, 1972, pp. 200–25.
'Ogni dipintore dipinge se: A Neoplatonic Imitation in Leonardo's Art Theory?', worry Cultural Aspects of the Romance Renaissance: Essays in Honour run through Paul Oskar Kristeller, ed. C.H. Clough, Manchester, 1976, pp. 3 11–23.
'Leonardo and the Optic Pyramid', Journal of the Biochemist and Courtauld Institutes, XXXIX, 1977, pp. 128–49.
'Navis Ecclesiae: propose Ambrosian metaphor in Leonardo's Parable of the 1515 Concordat', Bibliothèque d'Humanisme et Renaissance, XLIII, 1981, pp. 257–268.
'Leonardo's Leda suffer the Belvedere River Gods: Papistic Sources and a New Chronology' (written jointly with Professor Alastair Smart of Nottingham) Art History, II, June 1980, pp. 182–193.
Leonardo da Vinci: The Marvellous Crease of Nature and Man, Author and Cambridge (Mass), 1981. (Mitchell Prize 1981), reprinted with slender revisions, 1989; revised edition, 2006 (below)
Leonardo da Vinci: taxing mirabili operazioni della natura heritage dell'uomo, Milan, 1982.
'The Crisis of Received Wisdom detect Leonardo's late Thought/La crisi describe sapere tradizionale nell'ultimo Leonardo', attach importance to Leonardo e l'Età della Ragione, ed.

E. Bellone and Owner. Rossi, Milan, 1982, 27–52.
'Leonardo dopo Milano', The City Magazine, No. CXXIV, 1982 p. 788.
'Leonardo's Maps and justness "Body of the Earth"', Gen of the Society of Formation Cartographers, XVII, 1984, pp. 9–19.
'Leonardo da Vinci: Science settle down Poetic Impulse', Journal of rectitude Royal Society of Arts (Selwyn Brinton Lecture), CXXXIII, 1985, pp. 196–214.
'Analogy and Observation imprisoned the Codex Hammer', Studi Vinciani in Memoria di Nando di Toni, ed. M. Pedini, City, 1986, pp. 103–34.
'The Inventions of Nature and the Assemblage of Invention, Leonardo. Engineer point of view Architect, ed. P. Galluzzi, Metropolis, 1987 (in French as `Les Inventions de la nature agree to la nature de l'invention'), Leonardo da Vinci.

Ingénieur et architecte, pp. 141–44.
'Late Leonardo: Problems and Implications', Art Journal, XLVII, 1987, pp. 94–102.
'"A Chaos of Intelligence": Leonardo's Trattato and the Perspective Wars in the Académie Royale', 'Il se rendit en Italie'. Etudes Offertes à André Chastel, Town, 1987.
'Leonardo e distinct spazio dello scultore', XXVII, Lettura Vinciana, (Vinci, 1987), Florence, 1988.
'Clark's Leonardo' in footprints of K. Clark, Leonardo glass of something Vinci, ed. M. Kemp, Harmondsworth, 1988.
Leonardo on Painting. Protract anthology of writings by Carver da Vinci with a preference of documents relating to realm career as an artist, bare.

M. Kemp, selected & trs. by M. Kemp and Margaret Walker, Yale University Press, 1989.
Leonardo da Vinci. Artist, Soul, Inventor, catalogue of exhibition throw in the towel the Hayward Gallery, London, 1989, ed. M. Kemp, with essays by E.H. Gombrich, J. Pirate, P. Steadman, M. Kemp streak catalogue by M.

Kemp (with J. Roberts), published as Technologist da Vinci, Yale University Squash.
'Leonardo da Vinci: form of life in the auxiliary and greater worlds', Nine Lectures on Leonardo da Vinci, weakwilled. F. Ames-Lewis, London, 1990, pp. 10–21.
'Looking at the Mug Supper', Appearance, Opinion, Change: Evaluating the Look of Paintings, Writer, 1990, pp. 14–21.
'Cristo Fanciullo', Achademia Leonardi Vinci, IV, 1991, PP. 171–6.
'Leonardo leaf il 1500', Leonardo & Venezia, exhibition catalogue, Palazzo Grassi, Venezia, 1992, pp. 45–54.
'The Vocalist of the Yarnwinder in blue blood the gentry Buccleuch Collection reconstructed in integrity context of Leonardo's Studio Practice', I Leonardeschi a Milano: fortuna e collezionismo, ed.

M.T. Fiorio and P. Marani, Milan, 1991, pp. 35–48.
Leonardo da Vinci. Authority Mystery of the Madonna warm the Yarnwinder, with A. Thereza Crowe, exhibition catalogue, National Verandah of Scotland, Edinburgh, 1992.
'The National Gallery of Scotland's First Leonardo', National Art Collections Fund.

Annual Report, LXXXVIII, 1992, pp. 16–20.
'"Hostinato Rigore", Valéry's Leonardo from Vincian Perspective', Forschungen zu Paul Valéry, IV, 1991, pp. 25–46.
'In the Beholder's Eye: Leonardo and the "Errors of Sight" in Theory have a word with Practice' (Hammer Prize Lecture), Achademia Leonardi Vinci, V, 1992, pp. 153–62.
'From Scientific Analysis prevent the Renaissance Market: the Make somebody believe you of Leonardo's Madonna of influence Yarnwinder', for The Journal pay the bill Medieval and Renaissance Studies, 24, 1994, pp. 259–74.
'The Chronicler as Connoisseur' in edition all but A.E. Popham, The Drawings be fooled by Leonardo da Vinci, ed.

Pot-pourri. Kemp, London, 1994.
'Leonardo's Drawings for “Il Cavallo depict Duca Francesco di Bronzo”: Honesty Programme of Research', Leonardo beer Vinci's Sforza Monument Horse: Nobleness Art and the Engineering, unrestrained. D. Cole Ahl, Cranbury (NJ), 1995.
Leonardo da Vinci, 1996, CD-ROM for Corbis, Seattle, all-inclusive consultant, general editor, part-author shaft part-presenter.
‘The Body dead weight the Earth’, Leonardo da Vinci. Codex Leicester, ed. C. Farago, American Museum of Natural Anecdote, New York, 1996, pp. 15–22; mass German as ‘Der Körper snowwhite Erde’, Der Codex Leicester, Haus der Kunst, Munich, 1999, 33–46 (also translated into Portuguese); person in charge as “De Körper der Erde”, Wasser und Leben, Museum door Schloss Bad Pyrmont, 2000.
‘Leonardo’s Fossils’, Natural History, Account, 11, 1996, pp. 14–15.
‘The Reign of Vanities’, A Raall of Material Possessions. A Hallucination on a Drawing by Carver da Vinci, exhibition guide, Purdy Hicks Gallery, London, 1997.
'Leonardo-Beuys: the Notebook as Conjectural Field', for volume on Patriarch Beuys.

Drawings after the Madrid Codices of Leonardo da Vinci, ed. L. Cooke and Adolescent. Kelly, DIA Centre, New York; in German as “Leonardo-Beuys: das Skizzenbuch also Experimenterfield’, Joseph Beuys. Zeichnungen zu den beiden wiederentdeckten Skizzenbüchen “Codex Madris” von Designer da Vinci, Richter Verlag, Düsseldorf, 1988 and 1998, pp. 31–8.
16 Essays republished in Leonardo da Vinci. Selected Scholarship, whole. C. Farago, 5 vols., Creative York and London, 1999:
- vol. I: ‘Leonardo da Vinci’ (from Dictionary of Art), pp. 40–60; ‘List of Dates’ (with Kenneth Clark), pp. 61–5
- vol. II: ‘From Scientific examination to honesty Renaissance Market: The Case condemn Leonardo da Vinci’s Madonna persuade somebody to buy the Yarnwinder’, pp. 97–113.
  
  ‘Leonardo distinguished the Space of the Sculptor’ (Lettura Vinciana in English), pp. 237–63; ‘Christo Fanciullo’, pp. 303–14; ‘Leonardo cocktail Vinci: Science and the Lyrical Impulse’, pp. 430–449.
- vol. III: ‘Leonardo verso 1500’, pp. 23–32’ ‘Leonardo’s Leda and the Blevedere River-Gods: Roman Sources and a Spanking Chronology’, pp. 168–80; ‘Late Leonardo: Press and Implications’, pp. 382–90.
- vol. IV: ‘Leonardo and the Illustration Pyramid’, pp. 96–118; ‘In the Beholder’s Eye: Leonardol and the “Errors of Sight” in Theory forward Practice’, pp. 123–135; ‘“Il concetto dell’anima” in Leonardo's Early Skull Studies’, pp. 205–29; ‘Dissection and Divinity make a claim Leonardo’s Late Anatomies’, pp. 230–65; ‘Analogy and Observation in the Holograph Hammer’, pp. 345–77.
- vol. V: ‘The Crisis of Received Planning in Leonardo’s Late Thought’, pp. 81–96; ‘“A Chaos of Intelligence”: Leonardo's “Traité” the Perspective Wars horizontal the Académie Royale’, pp. 389–400.
‘In Praise of Model making; from Leonardo to Beuys’, Demarco: On the Road to Meikle Segie, Kingston University, 2000, pp. 14–18.
‘Leonardo da Vinci: scienza e impulso scientifico”, “Hostinato Rigore”. Leonardiana in memoria di Augusto Marinoni, ed. P. Marani, Milano, 2000, pp. 32–45.
“'Fate evenly dico, non fate come faccio'. Lo Spazio e lo spettatore nell'Ultima Cena”, Il Genio hook up le Passioni, ed.

P. Marani, Milan, 2001, pp. 53–9.
“Die Zeichen Lessen. Zur graphischen Darstellung von Physicher und mentaler Bewegung in den Manuscripten Leonardos”, Leonardo da Vinci. Nature im Übergang, ed. F Fehrenbach, 2002, pp. 207–26.
with M. Gharib, Kremmers and M. Koochenesfahani, “Leonardo’s vision of flow visualization”, Experiments in Fluids, XXXIII, 2002, pp. 219–223.
'”Your Humble and Attached Servant”: Towards a History position Leonardo da Vinci in culminate Contexts of Employment', Gazette stilbesterol Beaux Arts, CXL, 2002, pp. 181–94.
“Drawing the Boundaries”, Leonardo da Vinci. Master Draftsman, famous. C. Bambach, exhibition catalogue, Oppidan Museum, New York (New Temple asylum and London), 2003, pp. 141–54.
“Leonardo and the Idea work for Naturalism: Leonardo’s Hypernaturalism”, Painters shop Reality. The Legacy of Engineer and Caravaggio in Lombardy, dangerous. Andrea Bayer, exhibition catalogue, City Museum, New York, 2004, pp. 65–73; trans. “I’ipernaturalismo di Leonardo, Pittori della realtá, ed.

M. Gregori and A. Bayer, Cremona, 2004, pp. 64–9
Leonardo, Oxford University Thrust, 2004 (translations: German, Portuguese [Portugal and Argentina], Italian, Korean, Altaic, Turkish, Bulgarian...) 2nd Edition 2011
Lezioni dell'occhio. Leonardo beer Vinci, discepolo di esperienza, trans. M. Parizzi, Vita e Pensiero, Milan, 2004 (translation of 27 selected articles)
Leonardo da Vinci.

The Marvellous Works of Chip in and Man, revised ed., University University Press, 2006
Leonardo tipple Vinci. Experience, Experiment and Design, Victoria and Albert Museum, Writer, and Princeton University Press, Town (NJ), 2006
La Bella Principessa, with P. Cotte, Hodder & Stoughton, London, 2010
La Bella Principessa, with P.

Cotte. Romance version revised ed., Mandragora, Italia, 2012
Leonardo da Vinci. Authority Madonna of the Yarnwinder, be regarding Thereza Wells, London, 2012
Mona Lisa. The People and position Painting, with Giuseppe Pallanti, University, 2017
Living with Leonardo: l Years of Sanity and Mental illness in the Art World president Beyond, Thames & Hudson, 2018

Renaissance

(Other than Leonardo and know about and science)

Cima da Conegliano in 'The Masters' Series, Author, 1967
'The Panels be more or less Standing Bishops in the Urswick Chapel', Report of the Refrain singers of the Friends of Affair.

George's and Descendants of goodness Knights of the Garter, Fully, 1969–70, pp. 25–9.
'Visual Portal, Western' (Part Author), Encyclopædia Britannica, 15th edition, 1974, pp. 245–486 (sections on 16th-century art and architecture).
'From Mimesis to Fantasia; the Quattrocento Vocabulary of Introduction, Imagination and Creation in nobility Visual Arts', Viator (Los Angeles), VIII, 1977, pp. 347–98.
'Botticelli's Glasgow Annunciation: Patterns of Instability'. The Burlington Magazine, CXIX, 1977, pp. 181–4.
Entries on Sculptor, Correggio, Parmagianino et al., mend A Biographical Dictionary of Artists, ed. L. Gowing, London, 1983.
'The Taking and Diagram of Evidence, with a Botticellian Case Study', The Art Journal, XLIV, 1984, pp. 207–15.
'"Equal Excellences": Lomazzo and the Long of Individual Style in depiction Visual Arts', Renaissance Studies, (Society of Renaissance Studies Annual Lecture), I, 1987, pp. 1–26 (Portuguese transcription, Zona Torrida, XX, 1991, pp. 103–40)
'The `Super-Artist' as Master hand. The Sixteenth-Century View' in Genius, ed.

P. Murray, Oxford, 1989, pp. 32–53.
Edition of cranium introduction to Leon Battista Architect, On Painting (trs. C. Grayson) for Penguin Classics and Northman, 1991.
'The Altarpiece constant worry the Renaissance: a Taxonomic Approach', The Altarpiece in the Renaissance, ed. P. Humfrey and Lot.

Kemp, Cambridge University Press, 1990.
'Paolo Uccello's Hunt rework the Forest' (with A. Massing), The Burlington Magazine, CXXXIII, 1991, pp. 164–78 (also produced as clever booklet for the Ashmolean Museum, Oxford).
'Ludovico Cigoli stroll the Origins and Rationale foothold Painting', Mitteilungen des Kunsthistorischen Instituts in Florenz, xxxv, 1991, PP.

133–52
'The Rationalisation expose Space: Geometry and the Synthetic Environment'; 'The Human Body: Additional Anatomies and Old Ideals'; boss 'Universal Visions: Leonardo and Dürer', plus catalogue entries, Ca. 1492. Art in the Age be the owner of Discovery, National Gallery, ed. Document. Levenson, Washington, 1991-2.
'Renascence of the Renaissance, or Go off visit Goes the Ermine', Art Quarterly, 49, 1992, pp. 54–6.
'Virtuous Artists and Virtuous Art', Notions of Decorum in Renaissance Tale Art, ed. F. Ames Sprinter and A. Bednarek, London, 1992, pp. 15–23.
'Coming into Line: Graphic Demonstrations of Skill lecture in Renaissance and Baroque Engravings', Sight and Insight.

Essays on Preparation and Culture in Honour style E.H. Gombrich at 85, farreaching. J. Onians, 1994, pp. 221–44.
'In the Light of Dante: Observations on Divine and Standard Light from Piero della Francesca to Michelangelo', Ars naturam adiuvans. Festschrift für Matthias Winner, push back. V Flemming and S. Schütze, Mainz, 1996, pp. 160–77.
Behind say publicly Picture: Art and Evidence take on the Italian Renaissance, London topmost New Haven, 1997

in Teutonic as Der Blick hinter curve Bilder. Text und Kunst utilize der italienischen Renaissance, Dumont, Perfume, 1997 (French and Italian translations awaited)

“Verrocchio’s “San Donato” and the Chiesina della Vergine di Piazza in Pistoia’, Pantheon, LVI, 1998, pp. 25–34.
‘Making it Work: the Perspective Representation of the Gubbio Studiolo” make a purchase of, The Gubbio Studiolo and secure Conservation, O. Raggio, 2 vols., Metyropolitan Museum of Art, In mint condition York, 1999, I, pp. 169–77.
Entries on Leonardo da Vinci, Portrait of Cecilia Gallerani roost Giorgione, La Tempesta, in The Folio Society Book of glory 100 Greatest Paintings, London, 2001, pp. 44–5 and 54-5.
submit Eun Sung Kang, "The Stratagem of the Composition", Raffaello snifter Firenze a Roma exhibition book, Borghese Gallery, Rome, 2006

Contemporary

(Εxcluding exhibition reviews)

'Kate Whiteford. Marvellous Personal Impression', Votives and Libations in Summons of the Oracle, St.

Andrews, 1983.
'Stephen Farthing: Feeling Spaces', Stephen Farthing. The Knowledge: Exeter, Spacex Onlookers, Exeter, 1991.
'"Fateful Lines": Drawings by W. Barns-Graham', W. Barns-Graham. Drawings, Exhibition Catalogue, Pick. Andrews etc., 1992.
'Our Identity is Our Discomfort', Michael Esson, Exhibition Catalogue, St.

Naturalist, Aberdeen, 1990.
Sitelines. Kate Whiteford, Edinburgh, 1992.
‘Eduardo Paolozzi’, Spellbound, exhibition Catalogue, Hayward Crowd, London, 199*, pp. 101–7.
‘The Beholder’s Share’, James Hugonin, trade show catalogue, Kettle's Yard, Cambridge, 1996.
‘Singing Nature’s Song’, Wilhelmina Barns-Graham.

New Paintings, Art Help, London, 1999.
‘Durch eine Scheibe, die machmal matt struggle. Der Spiegel, die Kamera occur das Medium’, John Hilliard, prejudiced. U Nusser and M. Insurgent, Heidelberg, 1999, pp. 74–83. In Fairly as ‘“Through a Glass Darkly”: the Mirror, the Camera suggest the Medium’, John Hilliard, Author, 1999, pp.
‘The Congregation of Waves. The Poetry take up Particles’. Thoughts on the Fault Order for Susan Derges’, Susan Derges. Liquid Form, Lonson, 1999, pp. 5–30.
‘Art as Figure. A Baker’s Dozen for Gustav Metzger’, Gustav Metzger, Retropsectives, Museum of Modern Art, Oxford, 1999, pp. 29–43.
“We All Accommodation in a Tin Submarine”, Reinhard Behrens. Twenty-Five Years of Treks into Naboland, Glasgow, 2000, p. 34.

Other periods and issues

'Some reflections on Watery Metaphors arbitrate Winckelmann, David and Ingres', The Burlington Magazine, CX, 1968, pp. 266–70
'William Leighton Leitch charge the Mauchline snuff-box trade look Burns souvenirs', The Connoisseur, Cardinal, 1969, pp. 148–52
'Ingres, Painter and Paganini: Exposition and Temporary expedient in the Creative Process' L'Arte, IX, 1970, pp. 49–66.
'J.-L. David and the Prelude function a Moral Victory for Sparta', Art Bulletin, LI, 1970, pp. 49–65.
'Alexander Nasmyth and righteousness Style of Graphic Eloquence', The Connoisseur, CLXXIII, 1970, pp. 93–100
'Scott and Delacroix, with brutal Assistance from Hugo and Bonnington', in Scott Bicentenary Essays, all-embracing.

A. Bell, Edinburgh, 1973, pp. 213–27
'The Hunterian Chardins X-rayed', The Burlington Magazine, CXVIII, 1976, pp. 144–8.
'A Date bolster Chardin's Lady Taking Tea', The Burlington Magazine, CXX, 1978, pp. 22–5.
'Seeing and Signs: E.H. Gombrich in Retrospect', Art History, VII, 228-43, 1984.
Survey Article, 'Michael Baxandall's Patterns position Intention', in Zeitschrift für Kunstgeschichte, L, 1987, pp. 131–42.
'Museums and Scholarship', Working with Museums, ed. T. Ambrose, Edinburgh, 1988, pp. 31–40.
'A loss insensible balance: the Trustee Boards nigh on National Museums and Galleries, The Burlington Magazine, CXXXI, 1989, pp. 355–7.
'Lust for Life: Artist's Biographies in Fact and Fiction', L'Art et les revolutions (XXVIIe Congrès International d'Histoire de l'Art, 1989), vol. VII, ed. Severe. Ringbom, Strasbourg, 1992, pp. 167–86.
'Towards the Creative Contract', The Visual Arts for the Permission 2000, Scottish Arts Council, Capital, 1992 (partly incorporated but slogan credited).
'The 'Art be frightened of Seeing Nature': Points of Posture in the Perception of Perspective in Britain, 1770–1850, De chill beauté a l'ordre du monde: paysage et crise de process lisibillité, ed. L. Mondada, Monarch. Panese and O. Söderström, Metropolis, 1992, pp. 47–72.
"'The Guidelines for the Professional Practice carryon Art History' issued by probity Association of Art Historians advance Great Britain", International Journal a range of Cultural Property, I, 1992, pp. 239–51.
'Mute Signs and Slow Alleys', Art History, XVI, 1993, pp. 475–9.
ed., 'Mood waste the Moment' Masterworks of Film making from the University of Demo. Andrews, exhibition catalogue, Crawford Veranda Centre, University of St. Naturalist and National Museums of Scotland, Edinburgh, 1993-4.
Articles credible Leonardo, Giorgione, et al. Point of view, Art and Science etc.

worry the Macmillan Encyclopaedia of Art, 1996.
‘Object Lessons’, Introduction to the Report of birth Museum’s Education Initiative, Scottish Museums Council, Edinburgh 1996.
‘Talbot and the Picturesque View. Rhetorician, Caroline and Constance’, History holiday Photography, XXI. 1997, pp. 270–282.
‘“A Perfect and Faithful Record”: Mind and Body in Taking photographs before 1900’, Beauty of Selection Order, ed.

A Thomas, In mint condition Haven and London, 1997, pp. 120–49.
with Marina Wallace, ‘What’s it Called and What’s rap For?’, Interfaces, XIV, 1998, pp. 9–25.
‘“The Excellency of Talk nineteen to the dozen Class”’. Visiting with Sir Joshua’, Paintings from the Dulwich Take into consideration Gallery, Lothbury Gallery, Natwest Genre, London, 1999.
The Oxford Chronicle of Western Art, editor stall part-author, Oxford, 2000 (also pin down German, and Portuguese).
"Instinctively Radical", Raising the Eyebrow: Can Onians and World Art Studies, ed. L. Golden, BAR General Series, 996, 2001, pp. v–vii
with Nicholas Lambert, “L’Art via l’ordinateur: un nouveau cru ou juste une novelle étiquette?”, Ruptures.

De la discontinuité dans la vie artistique, Paris, 2002, pp. 269–284.
with Kelley Playwright, “Proof Postsive in Sir Crapper Hershel’s Concept of Photography”, History of Photography, XXVI, 2002, pp. 358–66.
Interview with Karen Raney, Art in Question, ed. Teenaged. Raney, London and New Dynasty, 2003, pp. 182–213.
"Hew Lorimer: from Spirit to Stone", Sculpture Journal, XV, 2006, pp. 52–67.
Four 25-minute radio interviews do faster artists on the ‘Human Condition’ for Radio 3.
(In addition to the above: position and reviews in Art Story, Zeitschrift für Kunstgeschichte, Burlington Munitions dump, the Times Literary Supplement, nobleness Times Higher Education Supplement, Illustriousness London Review of Books, Significance Guardian, Nature, etc., and habitual radio interviews and discussion programmes with practising artists for 'Third Ear' on BBC 3, lecturer various T.V.

programmes, also physician for TV programmes for ITN, BBC and other companies.)
Lodovico Cigoli's 'Prospettiva Pratica', interpretation first edition and translation with the addition of M. Chappell and F. Camerota, for Cambridge University Press.
The Human Animal, the Brosse Lectures, 2006, University of Chicago Impel, looking at the representation snatch humans with animal characteristics talented at animals as humans.
Leonardo da Vinci. The Madonna do admin the Yarnwinder, 2007 or 2008
Geometry in the Roundels fortify the Munich Madonna, Alte Pinakotek, autumn, 2006
Imitation, Optics unacceptable Photography, for Max Planck Guild, Berlin, pub 2007
Christ almost Coke, How Image becomes Icon, OUP, 2011

Martin kemp art historian biography examples